Maestría en estudios artísticos
URI permanente para esta colecciónhttp://hdl.handle.net/11349/2062
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Ítem 30 gallinas por una niñita- prácticas de impunidad sobre niñez femenina en Colombia basadas en el caso de Yuliana Andrea Samboní MuñozGarcía Agudelo, Johanna Katherinne; Pinzón Ramírez, MaritzaThis creation investigation part of the word understood as aesthetic agency and denunciation, and weaves in a violent crossing of visualities on enunciations of problematic subjects and actions, an exercise of scriptural indiscipline hybridizing different sources (journalistic, criminalistic, media and news) to structure a analysis of the impunity practices that circulate around female childhood in Colombia based on the case of Yuliana Andrea Samboní Muñoz, and through which similar events are woven. Under the guidance of moral sentiments in Kant, and from the concept of monster as a social offender reproduced by the media, he delves into the idea of monstrosity as an impunity practice, guided by theoretical references such as Judith Butler, Silvia Federici, Alejandro Castillejo and Alejandro Cussiánovich, or journalists such as Daniel Mendoza Leal, Germán Silvia Bustos, and human rights web portals such as Justice or denunciation such as Criminal minds, which in turn shaped an exercise to break down and understand the chains of dehumanization. The creation comprises displaying the monstrosities found in a textual body of narrative and graphic reflection of mixed inputs with overflowing characteristics in which the stories involved in the story are marked by institutional sociopathy and are abruptly woven into a monstrous body called Frankenstein, contribution central to the research line of Ex crituras y Goces Transdiscursivos of the Master in Artistic Studies. or before the media. The above allows us to weave isolated data that make it possible to enter the internal world of the other.Ítem ¿A quién le importan los gusanos? Pensémonos una manera nueva de gestar la literaturaArévalo Arévalo, Dayan Alexander; Piedrahita Jaramillo, LuisaWho cares about worms? is a research-creation project that seeks to develop a new way of thinking and making literature, and seeks that those who have felt it distant, assume it as their own. In that way, it is also an invitation/demand for those who are close to literature in its more traditional dimensions (academics, editors, managers, writers) and those who are not close (the worms, the ordinary) to twist the vision they have of this domain of knowledge. Challenging the canonical and the idea that reigns in our heads about literature, here we find a groping, a provocation, some sensitive-critical routes for all of us to enter into a dimension of relationship between narratives, braiding them so that, under this relational logic, we re-know the literary. What defines this project is a transit that unveils the necropolitics of the literary and becomes wormy, ordinary and vital erotics in which every narrating agent is capable of making and getting literature as their own. And the result will be, I announce it now, that little worm that will remain in our heads; a bug that will move when we leave aside the excessive hermeneutics and expand our dimensions of what is read, heard and felt.Ítem Abusos Y vestigios: dramaturgias apócrifas a partir de tres relatos femeninosQuintero Cadena, Marcia; Camacho López, SandraThe present research-creation is the pursuit of a own dramaturgy build on three female stories. These were developed from the investigation of sexual abuse and abuse of power phenomena that took place in a neo-shamanic community. Experiments in the Dramaturgy Apocryphal Laboratory, space of theatrical creation, attempt to unveil the possible routes of building a dramaturgy. Likewise, the play seeks to answer the question of identity by collecting traces and vestiges of women's stories, women's intra-subjective relationships and my experience as a member of the community in question.Ítem Un acercamiento relacional desde lo sonoro a prácticas BDSM en BogotáRubio Vélasquez, José Alonso; Peñuela, Jorge EdilbertoIn the West, the scopic regime is established, almost as the only way to understand, relate and know the world, leaving other perceptual and sensory capacities in a lower plane. In this sense, this document presents the results of research— creation of the project, A relational approach from the sound to BDSM practices in Bogotá. Which, in the first place, explores the context in which some sexual practices — non-normative erotic, are staged. Secondly, it presents the practices already mentioned as ways of knowing oneself, through writing, as a reflective experience that allows us to find and understand the reasons for some of the BDSM practices. Thirdly, it dialogues with its various agents, with the aim of understanding their life forms and highlights BDSM practices as places where epistemes, ethics and aesthetics of a singular nature emerge. Fourth, he designs and implements a sound ethnography, as a methodological route which explores some audible manifestations, related to practices of specific communities. From this sound ethnography, he makes a sound documentary and several live sound actions. One of them is staged during the creation of this research creation.Ítem Agüe,agua,aguelita, agüela, indagaciones de las intersensibilidades de los tránsitos campo-ciudad en la experiencia vital de mi ágüela María Cristina Ladino RodríguezGuerrero Gómez, Llerly Darlyn; Castillo, SoniaAgüe-agua-agüelita-Agüela Inquiries into the intersensitivities of rural-urban transits in the life experience of my grandmother María Cristina Ladino Rodríguez, is a transdisciplinary research-creation project, whose methodological route is the documentary interview, the extended listening, genealogy, corpography and performance, among other proposals; to investigate the intersensible experience expressed in the lexicons of my grandmother. The starting point is in the conversations with my grandmother, the stories that she shared with me from my childhood, in which transits are investigated as changes, paths, routes, steps, comings, goings, sprouts and becomings of the roads of vital continuity between the urban-rural. In which the hidden and invisible legacy of my grandmother is revealed, in which it is possible to account for features of models of the feminine, which strengthened models of violence, routes of poverty and domesticity of women who pursued change in the nascent city of Bogotá from the 30s to the 50s of the 20th century. This reflective process generated a critical look at the condition of the feminine in my grandmother, as well as the condition of so many migrant women from the countryside to the city, in Colombia during the previous century. The case of my grandparents presents features of what happened in Choachí, Cundinamarca, during the first half of the 20th century; what was happening in Bogotá during the second half of the 20th century; and what surely continues to happen during the nineteenth century.Ítem Álbum de familia del arte actual en BogotáAvila Morales, Claudia Aracely; Gómez, Pedro PabloThis family album of current art in Bogotá is the result of research, creation and reflection in the field of Artistic Studies. Art, Nation and Family are the study triad on which the problem of legitimacy and the legitimation of its members develops, either officially or empirically within their albums, metaphorical objects in whose lap it is administered practical life and the image of ourselves; We are artists or not.Ítem Alfa [versión en continua escritura]Hernández, Amalia; Cáceres, Juan Fernando; Cáceres, Juan Fernando [0000-0002-9971-1704]The document presented is the synthesis of a research-creation exercise whose starting question was: What is the relationship between eroticism and writing? From which a methodological development was outlined that integrated constant philosophical reflection, concern for interwoven political relationships, writing in a poetic key and action. This found its direction and condensation in the attached document, which due to the evanescence of its content can only serve as a report of the transition of the experience that was involved in carrying out this exercise. Thus, the present is constituted as a narrated, fragmentary and insufficient testimony, which, using the resources at its disposal (textual and scriptural resources), places eroticism within a situated experience, the center of its creative and analytical efforts. of the researcher – creator who writes, who thinks, who feels and who in the end seeks to disappear to leave the reader in conversation with the text itself.Ítem Aliento Investigación/Creación sobre las voces de mi vozMartínez Santos, Sirley Yolima; Cáceres Jaramillo, Juan FernandoThis research/creation work addresses, from indiscipline, an exploration of the voices of my voice and how the symbolic and affective manifestations are evidenced from the vocal sonority. It is not just a technical issue about how sonority is produced, but to invoke a sound, context in which this sound is produced must be considered and how sound is built based on others, it’s social construct. While sounds communicate openly through and about acoustic patterns, they are much more than that, they are not just technical, people intervene, whether they produce the sound or hear it, receive it, but those people belong to a time, to a specific place and relate in some particular ways. The question is then how to convey meaning or sensations through the voice when it is not mediated by the word and how it implies the affections. It works from indiscipline because it refers to a "without borders erected by disciplines", where the artist-researcher works under the premises of dialogue and appropriation, developing strategies that go against traditional cognitive knowledge that destabilize those traditional places of universal knowledge.Ítem "ANDADA" indagación sobre memorias, presencias y ausencias en mi proceso vital de des-plazamiento entre Bogotá y las Mesas NariñoMúñoz Gómez, Jesús Holmes; Castillo Ballén, SoniaWe have called "the walk", a collective procedure of research-creation Configured for the establishment and drawing of a series of both conceptual connections As experiential, narrative, corporeal, spiritual and performative that arise from my Condition and experience of displacement, which have been fanned artistically and conceptually By means of and in the midst of three specific voices: those of the other composing my journey; the Bibliographical and those of my own experience; Being the memory the central axis for the investigation Of the human aspect from the scope of the corporeity, the performativity and the Relation to the understanding of life in the proper sense of artistic studies.Ítem Animar objetos- construir sujetos sensibles: un estudio sobre la experiencia estética del espectador niño/a en el teatro de títeresArgote Pavi, Ximena; Montoya Castillo, MarioAnimating objects: constructing sensitive subjects, a study on the aesthetic experience of the child spectator in the puppet theater, is a research exercise that proposes to investigate the sensitive perceptions of the spectators children in the puppet theater through the Work Dreams of Water. Based on the theories proposed by HG Gadamer, in relation to the essence of art, through the categories of Game, Symbol and Fiesta, as well as the various voices that have gone through the reflection on aesthetic experience, which places in the center of The work of art to the perceiver. It configures a theoretical reflection, through a hermeneutic exercise, which allows us to approach the realities and sensitive experiences of children as spectators, where children are recognized as a fundamental part of culture and society, as well as discover the great value that Represents for the processes of creation and artistic interaction and co-construction of possible worlds. It is an invitation to re-discover the path traveled as an artist and researcher and re-find the essentials of that child that we all carry within.Ítem Añosas, de la esclavitud doméstica a la juventud acumulada un estudio de las inter sensibilidades en ámbitos de celebración de cinco mujeres representativas del proyecto 742 de la Secretaría de Integración Social de BogotáDíaz Lizarazo, Karen Nathalia; Castillo Ballén, SoniaThe research question for my thesis deals with the following aspects: How are the intersensitivities expressed during the performance of celebration by five women of Kennedy and Suba Districts and who take part in Project 742 of the Social Integration Secretary of Bogota? The answer for this question explores the critical issues on the tension regarding being an old woman and being an ‘aged woman’, conditions that I have experienced myself. Being an old woman is here perceived as the way state institutions address elderly women. On the other hand, being an ‘aged woman’ is the term I used to prove my conviction that these are elderly women rich in accumulated youth. This latter term was coined from my experience as a performer, a teacher and my own construction of the role of a woman inspired by both of my grandmothers. This research project was carried out from the performance ethnography approach, and used resources such as the performance, the photography and field notes. The outcomes of this project explain the category of ‘aged woman’ as an elderly woman that is able to experience magnified intersensitivities. For instance, their proxemics of loving themselves and loving each other, their visibility to disguise and reinvent themselves, their emphasis on laughter, their sounds and body language for healing, their sounds and eloquence to express happiness, their body expressions to have fun, and their dynamics of intermittency.Ítem Antígonas: Sentidos de una práctica artística de mujeres a propósito de crímenes de estado y militarización en ColombiaVilla Hernández, Daniela; Gamboa Medina, Alejandro¿How are woven the relationships between Antígonas Tribunal de Mujeres and its contexts? Does it depend solely on the content of the staging? This research begins with the compilation of some of the discourses that are currently in interaction regarding this and other artistic practices that happen at the intersection between arts and violence. From a place of political enunciation and some personal questions about the uses of the arts, I propose an analysis around the militarization processes that develop in Colombia even in the rise of discourses about peace, reconciliation, memory and reparation. There is domination and subordination in this network of meanings and practices of discursive production that affect the ways in which Antígonas Tribunal de Mujeres is understood, also, the ways in which the state violence resonate through it. The representation of women takes on a leading role here. The definition of the creators, their violence experience and their political activity in each discourse is an axis in the configuration of social realities. This is a confrontational panorama in which the goal is not necessarily to reveal what Antígonas really means. What I am looking for with this research is to see the web more clearly, to better understand the frameworks, to give rise to a conflict of meanings in which impunity is questioned and we don’t freeze in a homogenous and great story.Ítem La aportación del teatro La Candelaria de Bogotá a un esbozo de teatro musical colombiano, original y crítico. "El Ciclo musical candelario", análisis y resignificación de un opus teatral examinado desde el proyecto de transmodernidadRodríguez Ferreira, Andrés; Arroyave, Myriam DinneyThe work aims to collect the one possible contribution made to the Colombian and Latin American theater by Santiago García and Teatro La Candelaria, Bogota; creators and architects of the group with the highest historical, artistic and theatrical relevance of the country. It focuses specifically on a topic the musical theater as artistic language across borders, is configured from nodal aspects in each country where it occurred. The appropriation of this kind has made the group from the perspective of the combination of 5 works (plays): Vida y Muerte Severina, Los Diez Días que Estremecieron al Mundo, Golpe de Suerte, El Diálogo del Rebusque y Guadalupe Años Sin Cuenta, which from the perspective conjunction cycle we call ciclo musical candelario, is intended here from a redefinition proceed from two distinct perspectives. One, the foundation of a theatrical language that articulates two disciplines that have historically alternated, shared and produced artistic works from the world of musical theater and music for the stage. Two, that the assumption of the themes of the works and the treatment anticipated speech transmodernidad design that fits the movement of the Philosophy of Liberation in Latin America.Ítem El aporte de los universales a la historiografía de la música(Universidad Distrital Francisco José de Caldas) Castillo García, Francisco José; Arroyave Montoya, MyriamEn el desarrollo de perspectivas historiográficas sobre la música occidental, la musicología histórica ha priorizado un enfoque basado en los sujetos (compositores) y los objetos (obras musicales), dispuestos en una concepción del tiempo lineal, unidireccional y compuesta de relaciones causales. Este trabajo tiene como propósito la búsqueda de un equilibrio historiográfico, que contemple la permanencia como complemento del cambio en la narración histórica musical. Fundamentado en la discusión sobre los Universales del Hombre realizados desde la antropología, la lingüística, la biología y la música, este es un aporte a la manera como tradicionalmente se ha contado la historia de la música, en el cual se armonizan los cambios que suponen los hechos y las eras de la historia con las constantes invariables derivadas de los Universales.Ítem Aromas e historiasRodríguez Silva, Angie Andrea; Castillo Ballén, SoniaThe purpose of this research-creation work was to study the intersensible manifestations of the olfactory experience, which arise in the practice of perfumery from the field of artistic studies. Thus, through performance, perfumery workshops and writing exercises, we seek to investigate how we smell and what happens to people when we smell. At the same time it allows to open a field of reflections around the relationships between scientific creation and the arts as methodological routes through perfurmance.Ítem Atisbe: women-folklore-creation, the patchwork skirt: epistemological, political, methodological and ontological approaches of a research creationTerreros Romero, Ingrid Johana; Ospina Espitia, Martha Esperanza; Ospina Espitia, Martha Esperanza [0000-0002-6555-0180]This research-creation aims to glimpse (atisbar) the creative process that is taking place between women-folklore-creation based on the experience of Laboratorio Mujeres y Folclor in the city of Bogotá. It is a patchwork skirt that reveals four perspectives in each of its ruffles that allow the research-creation approach, whilst, in each of its washers that permit an approach to research-creation, while at the same time, evidencing and mobilizing representation policies towards women in folk dance practices. The four ruffles of the skirt are: The falda (skirt) as a place of enunciation from which an epistemological bet is presented. The con-estares (co-being), where the flocklorisims are being enrolled as political evidence regarding women or folklorisms of feminization. The Conversas bailadas and the Gozaditos as constant creative-research feedback methods and methodological perspectives towards the creative process (Atisbe). Finally, the ritual-vital ontological transformation exhibited in the crucial dash made by the moving creative-research. Sewing, dressing and dancing this patchwork skirt shows how research-creation, as a methodology, is the sewing of these four perspectives. It reveals that what is relevant in research-creation and in folkloric dance practice is to generate and maintain the vitality of creative processes, both artistic research practices and life itself. The research is proof of the encounter of women-folklore-creationÍtem El autorretrato y la autoetnografìa: diseño metodológico de investigación - creación tomando el autorretrato como instrumento autoetnogràficoNavarro Arcos, Hermes; Niño Morales, SantiagoSince the eighties, my great desire was to enter a Faculty of Fine art and culminate higher studies in it. Today, after being a professional engineer in the Francisco José de Caldas District University, in the Master's Degree in Artistic Studies I managed to establish an integral being as a person, artist, engineer and social being. It is through artistic and cultural practice and the biographical experience of my autoethnographic self-portraits, during four decades, that I have been able to construct autobiographical stories. According to the above, the research - creation, presented here, has as its central axis Self - portrait and Autoethnography, applications that achieve their landing through the question: ¿How the study of uprooting, identity and memory allow to identify the self-portrait as an autoethnographic instrument? The tool of observation and analysis in the context of my sentient reality, the collection of memorial and historical information, analysis and interpretation from documentary sources and visual works, integrating part of my history, daily life and experiential events during three periods called: Grito Mudo, Apología al silencio and Los Indignados, achieve their approach through narratives from four contextual levels or experiential layers, raised as the being I - being a person and being individual, being an artist, being an engineer and being social, although it is the artist being who becomes the core of the stories around which the other layers are expressed: the self, the engineer and the social being (Attachments and Appendix are included as a contextual complement).Ítem Baja costura para cuerpxs virtualesOrrego Cortes, Beatriz Eugenia; Esguerra Muelle, Camila; 0000-0002-6600-0324; Esguerra Muelle, Camila [0000-0002-6600-0324]Baja Costura para cuerpxs virtuales is a set of stitches between sewing, electronic arts and various theoretical contributions, which were connected with two collective artistic projects. The collective projects came about thanks to a sewing space, which lasted a year and a half, in which we got together to sew, draw, use computers, get to know some electronic devices, and talk and imagine about bodies and sewing. In this research-creation project, we bet on a couture epistemology in which practices are contaminated, patched up knowledge is valid, and subjects risk imagining their bodies through clothing. Working from the "below" allows us to contaminate and dialogue between languages of different technologies to achieve a "high" risk of sewing for the invisible bodies. From our companion animals and objects, to oppressed, naked or colonized bodies, these are bodies that require other ways of sketching, measuring, cutting and sewing to be "dressed". A seam like this could carry a virtual body, a potential body that is capable of making-opening space and that at the same time becomes an exercise in re-existence.Ítem La belleza de la muerte y la fealdad de la enfermedadHolguín Godoy, Tircia Carolina; Corredor Vargas, Álvaro Andrés RolandoThis research-creation project brings together my work and investigations into two diseases, leprosy and tuberculosis, which are genetically similar, but with different manifestations and therefore different management within the social stigma. Likewise, it is an approach to the ways in which they have been visually represented throughout history, the clinical management and policies associated with their control, as well as the stigma and the imaginaries that surround them. To this end, the presentation of the findings around this topic and the derivative works that I have created during the last 8 years on this path are articulated with the selected images that are inserted throughout the document and that represent a visual journey that invites the reader to understand the ways in which leprosy and tuberculosis have been present throughout the history of humanity. These representations show us how diseases have been treated socially, politically and culturally, taking into account that medical and social practices related to these ailments have had different modes of expression through drawing, painting and other artistic and cultural manifestations throughout history. Taking into account the concept of stigma in illness as a tool and starting point, in a search motivated by achieving the interweaving of different relationships and perspectives, whether from the patient and their ways of seeing the world, from the family, society, caregivers or treating physicians (medical procedures) and how these feelings are transmitted from different professions and disciplines, we have that stigma serves as a starting point to talk about biopolitics as a form of social control from health, where the unwanted are confined or excluded in order to hide the ugliness and the evils of society and avoid panic towards what cannot be controlled, which is also linked to the concept of public health. In my artistic process, my main interest has been the anatomical aspect from a three-dimensional perspective, but due to personal circumstances, I chose the craft of embroidery as a form of drawing to talk about the body, skin, and illness.Ítem Blanca mujer, la melancolía en la mirada de las mujeres de mi familiaBarón Parra, Nubia Teresa; Ospina Espitia, Martha EsperanzaFamily narratives dance in the subject configuration of each human being. Dance to see, to clarify, to re-know what has already been laved and experienced in the body an in the soul. Understanding is not enough, it is necessary to get involved to understand, create, recreate and disbelieve. The auto ethnographic dance creation is proposed as a method of creation research, in this case in solo format, from self-reflection on the family genealogy or women through de mother and on the self as an input for artistic dance creation, based on the it asks about femininity of women, or women who lived, died and were repeated for generations in worlds historically marked by macho and patriarchal thought in Boyacá. In any case, an attempt is made from the creative act inherent in art, to reveal the paths that manage to close the feminine ancestral wound, which has caused a melancholic expression in the eyes of the women of my family and in my won, central question in my creative inquiry.